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Esta dissertação busca apresentar uma leitura do ensaio A teoria do romance, de Georg Lukács, atentando para o nexo formulado pelo autor entre a forma romance e a modernidade. Para este objetivo, procurou-se retraçar os momentos de diálogo que essa obra estabelece com a teoria do romance de Friedrich Schlegel. Não se trata de uma tentativa de rastrear as influências que por ventura estejam presentes no ensaio de Lukács, mas de mostrar como A teoria do romance pode ser reconstituída a partir das críticas à teoria do romance do romantismo. Pretende-se expor como a investigação da forma romance, essa forma que como nenhuma outra expressa o desabrigo transcendental, consiste para Lukács em uma via de acesso e crítica à experiência de alienação que vigora no mundo moderno. / This dissertation aims to present a reading of the essay A theory of the novel, by Georg Lukács, paying special attention to the link between the novel form and modernity formulated by the author. To this end, the moments of dialogue that Lukács work establishes with the theory of the novel of Friedrich Schlegel were retraced. It is not an attempt to track influences that may be present in the essay, but to show how The theory of the novel can be reconstructed from the critiques of the romantic theory of the novel. We intend to point out how the investigation of the novel form, the form that like no other expresses the transcendental homelessness, consists for Lukács in a gateway to and critique of the experience of alienation that takes place in the modern world.

Cette thèse étudie un corpus de romans anglais, encore peu étudiés en France et jamais étudiés collectivement, publiés entre 1782 et 1805 par des écrivains et des écrivaines se rattachant par leurs idées et, pour certains, leur militantisme actif, au mouvement radical qui se développe en Angleterre dans la seconde moitié du XVIIIe siècle, s’amplifie et s’organise sous l’impulsion de la Révolution française, puis, sévèrement réprimé par le gouvernement de William Pitt, s’effondre à la fin de la décennie. Cette séquence historique laisse des traces profondes dans l’œuvre des romanciers radicaux, dont beaucoup, comme William Godwin, Mary Wollstonecraft et John Thelwall, sont philosophes ou polémistes avant d’être romanciers et prennent la plume pour défendre les droits de l’homme (et de la femme) dans le débat anglais sur la Révolution française qui oppose Edmund Burke à Thomas Paine. En croisant l’histoire des idées politiques, l’histoire sociale et culturelle du mouvement radical, l’histoire du livre et la narratologie classique, ce travail s’efforce de mettre en lumière la façon dont les romans encodent une certaine idéologie politique dans leurs formes – du discours des locuteurs au format de publication des romans, en passant par leurs narrateurs, leurs intrigues, leurs personnages, leur style et leurs silences signifiants. Un tel examen fait ressortir, plutôt qu’une idéologie radicale unifiée, une tension récurrente entre deux versions, libérale et jacobine, bourgeoise et plébéienne, du radicalisme, dont l’articulation conflictuelle revêt différentes formes d’un auteur à l’autre et d’un terme à l’autre de la période étudiée, à mesure que la réaction conservatrice enterre les espoirs radicaux de réformes. / This dissertation examines a corpus of English novels which have been little studied in France as yet and never as a whole. The novels were published between 1782 and 1805 by a group of writers who, by their ideas and in some cases active political commitment, belong to the radical movement which developed in England in the second half of the eighteenth century, gained impetus and structure in the wake of the French Revolution, and collapsed at the end of the decade when faced with repression from the government of William Pitt. Radical novelists, many of whom, like William Godwin, Mary Wollstonecraft and John Thelwall, were philosophers and pamphleteers before they took to novel-writing, flew to the defence of the rights of man (and of the rights of woman) in the revolution controversy which pitted Thomas Paine against Edmund Burke – and their work bears the mark of the rise and demise of the radical movement. Combining intellectual history with classical narratology, book history, and the social and cultural history of radicalism, this dissertation seeks to highlight the way in which political ideology is built into the very forms of the novels – in the characters’ speech and the characters themselves, in the novels’ plot and narration type, in their style and publishing format, as well as in their meaningful silences. Such a study brings to light, rather than a coherent radical ideology, a recurring tension between two versions of radicalism, liberal and jacobin, bourgeois and plebeian, whose partly conflicting conjunction assumes different shapes from one novelist to the other and between the early 1780s and late 1790s, as radical hopes of reform sink under the conservative backlash.

民間文學的創作和流傳極為廣泛，要加以完整收集極為困難，而傳統對民間文學的不夠重視民間文學的創作和流傳極為廣泛，要加以，也使得民間文學的保存工作益形艱難。狄青是宋代名將，有關他的故事在民間文學中極為蓬勃。本文的研究對象是，以狄青為主角的小說為主來研究。有關狄家將的小說主要有三種：《萬花樓》、《五虎平西》與《五虎平南》，在文學評價上不高，治小說史者很少提到這幾本小說，但就情節的安排來看，這幾本小說也有其獨特之處。本文本來試圖通過探討狄家將小說版本、作者問題、史料的差異程度、作品的內容思想等等來作歸納與分析。藉由這三種系統小說的比較結果，期更能了解清代狄家將小說情節敷演史實的差異程度，以及是否有先後相承的關係。第一章是序論部分。第二章是版本與作者問題。第三章是有關狄家將小說與歷史的關係。第四章是有關狄家將小說的起源及演變。第五章是以三本書的序□面的思想說明以外，還根據小說內容的大要跟情節來分析。第六章是有關正面人物以及反面人物的分析。第七章是結論。

Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2008.

The subject of this thesis is the social-adventure novel which was popular in the 1840s and early 1850s in Sweden. In contrast to literary critics who have tended to regard the thrilling plot of the genre as merely a way of creating effects, I try to analyze the plot as a bearer of both meaning and ideology. Inspired by the Russian scholar Mikhail Bakhtin, I define the plot in the genre as an adventure-plot, with links back to the novel of Antiquity. In an introductory chapter I discuss theories of genres which resembles the social- adventure novel. I conclude the chapter with a brief discussion of the differences between the adventure novel and the biographical novel. In chapter 2 I look into the reception of the social-adventure novel by contemporary critics. In the first case-study, I examine Samvetet eller Stockholms mysterier, 1850, (The Conscience or the Mysteries of Stockholm), by C. F. Ridderstad. By means of the ad­venture-plot we are introduced to everyday life in Stockholm in the middle of the cen­tury. But the adventure-plot also had other possibilities. It could be used to examine the various competitive moral and ideological views that were current at the time. In the second case-study, I analyze a variant of the social-adventure novel which deals with the development of the individual. The need to examine ideology and its values is essential in the historical-adventu­re novel. This case-study contains readings of novels by Ridderstad, J. A. Kiellman- Göranson and C. J. L. Almqvist. The function of the plot in the historical-adventure novel is to test the "natural" qualities of the heroes; to examine the ideology of the vil­lain; and finally to claim that history in the end depends upon the (im) moral actions of the individual. This is created through the mixture in the novels of historical time and adventure-time. The thesis ends with an analysis of a novel by Viktor Rydberg, Den siste athenaren, 1859, (The Last Athenian). In this novel there is also an adventure plot, but no ad- venture-time. The reason for this is that Rydberg only uses the adventure plot for his own monologic view of history and the destiny of mankind. Rydberg's novel marks an ending. It stands as the final expression of that period which began in the 1830s, in which the novel emerged as a leading genre in Swedish literature. / <p>Diss. Umeå : Umeå universitet, 1990</p> / digitalisering@umu

The writing and publishing of the novel, Dieper water (Deeper water), was the primary aim of this study. This novel was published by Human & Rousseau in October 2007. The plot of the novel is divided into three eras, the Anglo Boer War and thereafter, the Second World War and thereafter and the late nineties of the twentieth century. As a complementary aim, the study examines the realisation and analysis of image of reality or Zeitgeist, in the novel Dieper water. A consideration of the general theoretical and theoretical writing principles follows. These theoretical writing principles are specified in order for the writing process of the novel Dieper water to be examined according to these principles. Thereafter attention is paid to the method applied for the writing of the novel, Dieper water. The writing process is explained according to different writing phases, focussing on the role of the narrative elements to realise or embody the abstract concept of Zeitgeist. Zeitgeist can be explained as the general spirit of a specific period. The description of the writing process is followed by an intensive and heuristic view of the creation of Zeitgeist in the novel Dieper water. The focus is placed once more on the essential role that the narrative element, as well as the search for identity play in the creation of image of reality at a specific time, also known as Zeitgeist or time spirit. The core of this study is the writing of an extensive novel incorporating three eras. Complementary to this is the summarised study of the realisation of different forms of Zeitgeist. Conclusions and recommendations regarding the writing process and the creation of Zeitgeist in the novel, Dieper water, are proposed. This study is an attempt to closely examine the creation of image of reality in a novel, and indicate writing techniques that can possibly make a contribution to the practical process of creative writing. The conclusion of this study is that Zeitgeist, or the spirit of the times, as well as identity can be realised in a novel, by applying the narrative elements. The published novel, Dieper water, and a list of publications of the writer, are included as appendixes. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2008.

Apparu au lendemain de la Seconde Guerre mondiale avec la publication en 1957 d’On the Road de Jack Kerouac et la sortie, 12 ans plus tard, d’Easy Rider de Dennis Hopper, le road novel et le road movie constituent à nos yeux les deux versants de ce que nous avons choisi de nommer le récit de la route. Devant l’absence de réelle étude conjointe entre les deux formes et la persistance d’amalgames, nous souhaitons mettre en évidence ce qui permettrait de distinguer le road novel et le road movie d’autres récits d’errance. Un tel travail nécessite la mise au jour d’un outil d’analyse intermédial permettant d’embrasser de concert des œuvres relevant d’expressions médiatiques différentes. Nous proposons donc de recourir au concept de chronotope développé par Bakhtine en littérature, et dont il a été démontré il y a peu qu’il est aussi susceptible de s’appliquer à un objet cinématographique. Nous posons que road novel et road movie reposent sur la combinaison d’un ensemble de chronotopes fondamentaux : celui de la route, dans le contexte de la motorisation et des non-lieux de la postmodernité, et celui du seuil, compris comme l’expression du tournant d’une vie. La présence d’une dimension parodique nous amène en outre à mobiliser un autre concept bakhtinien : celui de carnavalesque, qui s’articulerait justement autour des chronotopes de la route et du seuil définis précédemment. Afin de procéder à cette analyse chronotopique, nous nous appuyons sur un corpus d’œuvres empruntées au répertoire américain, québécois et allemand, en raison notamment des multiples passerelles susceptibles d’être érigées entre ces différentes cultures. / Appearing in the wake of World War II, with the publication in 1957 of On the Road by Jack Kerouac, followed 12 years later with the screening of Denis Hopper’s Easy Rider, the road novel and road movie constitute, we argue, two sides of what we call the road narrative. Faced with a lack of comprehensive studies embracing both sides concurrently, and with recurrent amalgams, we reflect on the components differentiating the road novel and road movie from other types of wandering stories. Such a project calls for the construction of an intermedial apparatus, enabling us to jointly encompass artworks belonging to different media formats. Consequently, we build on the concept of the chronotope, as developed by Bakhtin as a tool for literary criticism, and recently extended by scholars to cinematographic objects. We show how road novels and road movies emerge from the combination of two fundamental chronotopes: that of the road, exemplified by a postmodern universe dominated by motor vehicles and non-places, and that of the threshold, understood as the expression of a critical turn in one’s life. The noted presence of a parodic dimension in road narratives calls for the introduction of an additional bakhtinian concept: the carnivalesque, which, as we show, can be articulated in relation to the previously defined road and threshold chronotopes. For this chronotopical analysis, we selected artworks from the American, Quebecois and German repertoires, a choice justified by the numerous potential connections to be established between those three different cultures. / Thèse réalisée en cotutelle, sous la direction de M. Philippe Despoix (Université de Montréal) et de M. Michel Marie (Université Sorbonne Nouvelle-Paris 3)

The writing and publishing of the novel, Dieper water (Deeper water), was the primary aim of this study. This novel was published by Human & Rousseau in October 2007. The plot of the novel is divided into three eras, the Anglo Boer War and thereafter, the Second World War and thereafter and the late nineties of the twentieth century. As a complementary aim, the study examines the realisation and analysis of image of reality or Zeitgeist, in the novel Dieper water. A consideration of the general theoretical and theoretical writing principles follows. These theoretical writing principles are specified in order for the writing process of the novel Dieper water to be examined according to these principles. Thereafter attention is paid to the method applied for the writing of the novel, Dieper water. The writing process is explained according to different writing phases, focussing on the role of the narrative elements to realise or embody the abstract concept of Zeitgeist. Zeitgeist can be explained as the general spirit of a specific period. The description of the writing process is followed by an intensive and heuristic view of the creation of Zeitgeist in the novel Dieper water. The focus is placed once more on the essential role that the narrative element, as well as the search for identity play in the creation of image of reality at a specific time, also known as Zeitgeist or time spirit. The core of this study is the writing of an extensive novel incorporating three eras. Complementary to this is the summarised study of the realisation of different forms of Zeitgeist. Conclusions and recommendations regarding the writing process and the creation of Zeitgeist in the novel, Dieper water, are proposed. This study is an attempt to closely examine the creation of image of reality in a novel, and indicate writing techniques that can possibly make a contribution to the practical process of creative writing. The conclusion of this study is that Zeitgeist, or the spirit of the times, as well as identity can be realised in a novel, by applying the narrative elements. The published novel, Dieper water, and a list of publications of the writer, are included as appendixes. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2008.

This thesis is comprised of three parts. The first part concerns the investigation of the topochemical reduction of LaSrNiRuO₆ in order to prepare LaSrNiRuO₄ via anion deintercalation. The second part discusses the oxide-for-hydride anion exchanges performed in SrV_1-xTi_xO₃, and the resulting SrV_1-xTi_xO_2-yH_1+y reduction products. Finally, the results from redox-neutral topochemical cation exchange reactions conducted in the three-dimensional perovskite structure of NaTaO₃ are presented along with the characterisation of a novel product of composition Ni_0.5TaO₃. The topochemical reduction of LaSrNiRuO₆ using CaH2 was carried out to produce a novel extended oxide phase with composition LaSrNiRuO₄. This phase is composed of sheets of apex-linked Ni¹⁺O₄ and Ru²⁺O₄ squares in a checkerboard ordered arrangement. To the best of our knowledge, this material is the first example of a B-cation ordered infinite-layer oxide phase. The low oxidation states of the transition-metal cations are confirmed by DFT calculations from which a spin moment S = &frac12; is determined for the nickel while the ruthenium centres adopt an intermediate-spin S = 1 configuration. LaSrNiRuO4 behaves paramagnetically at room temperature. However, upon cooling (T &LT; 250 K) a phase transition is observed in which the nickel spins interact ferromagnetically, while the ruthenium cations appear to undergo a change in spin configuration to a diamagnetic spin state. A possible explanation is given for this observation based on an ordered arrangement of local Jahn-Teller distortions. While investigating the preparation of LaSrNiRuO₄, it was observed that different samples of the LaSrNiRuO₆ starting materials exhibited markedly different reactivity. The observed differing reactivity is inconsistent with the crystal structure and composition of the LaSrNiRuO₆ samples, from which all the materials are identical. Careful investigation of the X-ray diffraction data collected from the LaSrNiRuO6 materials revealed that the reactivity of the samples is a consequence of the microstructure. By quenching or slow-cooling the materials during their synthesis, the size of the crystalline domains formed is affected and this in turn is observed to define the extent to which the topochemical deintercalation of oxide anions takes place. A mechanism to explain this effect is presented in which the greater 'plasticity' of small crystalline domains helps to limit the influence of lattice strain during the reaction. Similar with the observations for the LaSrNiRuO₆ phases, it was found that the reactivity of SrV_0.95Ti_0.05O₃ samples towards topochemical oxide-for-hydride exchange is also determined by the characteristics of the starting materials. The cooling rate can lead to phase segregation in SrV_0.95Ti_0.05O₃ samples which in turn affects the reduction behaviour. A modification of the energy profile for the oxide-for-hydride exchange in SrV_1-xTi_xO₃ phases is proposed on the basis of the electronic configuration that the transition-metal cations adopt upon reduction (d²,V³⁺ and d¹,Ti³⁺). Finally, topochemical exchange reactions can also be carried out between cations in complex transition metal oxides when the mobility of the species to be exchanged is sufficiently greater with respect to the host lattice. The preparation of Ni_0.5TaO₃ from exchange of Na⁺ by Ni²⁺ in NaTaO3 represents a synthetic approach not yet widely explored in the long-standing challenge that the preparation of magnetoelectric multiferroic materials represents. The topochemical reactions studied in this work highlight the possibility of directing and modifying the product phases, by tuning features of the reagents. This is in contrast with the limited control available in thermodynamic processes.